Hypeart Visits: Awol Erizku Is Shaping a New Cultural Canon

Awol Erizku is experiencing a wave of progress right now. His first solo museum exhibition titled “X” is currently on display, and he has a significant showcase coming up at Sean Kelly Gallery. This growth in his work is spreading across various institutions, classrooms, and geographical boundaries. Simultaneously, he’s managing fatherhood, finding moments for introspection amidst professional achievements and personal compromises.

Erizku’s artistic creations have consistently questioned mainstream narratives, drawing inspiration from ancient African symbolism, urban culture, and contemporary Black identity. He refers to this as “Afro-esotericism,” a visual philosophy that is difficult to pin down. In his work, historical figures like Nefertiti are transformed into black disco balls, and sports jerseys are reimagined as sacred artifacts. This isn’t just about reclaiming symbols; it’s about imbuing them with complex, often spiritual meanings.

During our chat for the Visits collection, artist Erizku discusses his approach to constructing a studio practice based on study and ritual, as well as the struggle between exposure and depth, and how the future of visual culture could be shaped by reconnecting with what’s authentic, imperfect, and genuine.

My personal philosophy, Afro-Erizku, stems from some fundamental truths I believe in and guides me towards a clear, unadulterated perspective.

Hey there! As a gamer, I’d say, “Wow, I can’t believe it’s me – my very first solo museum show, ‘X’. So, how did this incredible exhibit come to life? Well, let’s just say it was a lot of brainstorming, teamwork, and passion for my gaming-inspired art. And oh boy, standing there amidst the grandeur of the museum, seeing my personal vision unfold on such a massive scale… It felt like I had leveled up to a whole new dimension!

To begin with, this significant point in time has come about through numerous years of partnership and conversation with the curator, a cherished friend Dr. Daniel S. Palmer. His contributions have been indispensable at each stage, ensuring all aspects related to the institutional side were properly addressed and finalized.

In a recent update, you mentioned that you weren’t there for your son taking his first steps while you were busy with an installation. I’m curious, how do you navigate the balance between achieving professional goals and cherishing personal moments, given that they seem to be occurring simultaneously at a rapid pace?

I shower my loved ones with plenty of affection, and it’s fortunate that they appreciate my need for time away from home because of their understanding.

In my work, the concept of “Afro-esotericism” plays a crucial role. I’ve employed this term to refer to a unique language that combines mystical elements, symbolism, and the richness of Black identity. To put it simply, Afro-esotericism is the expression of spirituality, hidden knowledge, and cultural heritage within the African Diaspora.

Visualizing Afro-esotericism might involve seeing vibrant artworks that incorporate traditional African symbols, modern iconography, and themes related to Black history and culture. These visual representations often carry deep meaning and serve as a bridge between ancestral wisdom and contemporary expression of identity.

My personal philosophy, which I call Afro-Erizku, is a collection of truths that resonate with me and guide my journey. At its core, it’s a network of ideas expressed through various mediums such as objects, writings, and images, much like the stars in a constellation. This philosophy is beautifully encapsulated in book form, similar to the book “Mystic Parallax”.

It seems reasonable to conclude that certain concepts might be executed flawlessly, yet may not strike a chord immediately. Instead, they require time to gain traction, which is the epitome of patience.

In “X,” there is a blend of traditional symbols with modern items, from the black disco ball representing Nefertiti to the incorporation of sports motifs and sounds. How do you manage to connect different time periods and themes while ensuring consistency?

Initially, when I moved to Los Angeles in 2014, I believed the term “bridging the gap” aptly described my experience. However, now I see that perception as a universal one – it’s just how people, including myself, navigate life and interact with our environment, be it through the internet, social media, or otherwise.

In your creative journey as a multifaceted artist, could you share some of the most difficult hurdles you’ve encountered on an emotional, professional, or even political level? Additionally, does working with various artistic mediums enable you to narrate stories that might not have the same impact if told through a single form?

As a connoisseur of creativity, I can confidently assert that some concepts may exhibit impeccable execution, yet their impact might not be fully felt for a while – such patience is the epitome of refinement. Much like my thoughts, I too require various platforms, sensory dimensions, and life experiences to express myself most vividly.

My focus lies in developing complex structures that defy reduction, pieces that function on multiple levels, incorporating ambiguity, mysticism, and enigma.

What does your creative process look like on a practical level?

Research > Study > Implement a new idea into the world.

Are there specific rituals, routines, or environments you need in order to getinto a state of flow?

Good music, good reads, good Frankincense.

As a fan, are there any specific visual elements, emblems, or allusions that I’ve noticed being appropriated or distorted in such a way that it seems to undermine their initial significance or personal connection for me?

I’ve always been fascinated by how symbols can lose their original meaning over time, being repurposed, sanitized, or commercialized until they no longer hold the cultural and political significance they once did. A figure that frequently captures my attention is Nefertiti’s bust. To me, it’s not just an ancient artifact; it’s a code, a disputed icon whose history has been shifted. In Western museums, she’s often enclosed in glass, disconnected from her cultural heritage and reimagined as a static symbol of ideal beauty. This detachment, where a highly symbolic figure is turned into a Eurocentric ideal, is a form of erasure itself. Instead, I am interested in crafting pieces that resist simplification, works that function on multiple levels, that welcome complexity, spirituality, and mystery. The aim isn’t just to reclaim the image, but to revitalize it, to imbue it with renewed power and presence.

In our current times, there’s an overwhelming abundance of visual content, greatly accelerated by AI capabilities. Given my profound interest in the influence of images, what worries me the most regarding the direction of visual culture?

It’s quite intriguing to think that the current surge of AI could eventually spark a renewed appreciation for handcrafted items, visual art, and personal experiences created by humans.

In your creative output, there seems to be a fusion of personal folklore with wider tales from history and spirituality. Could there be a recurring emblem or theme that captures your attention, one that you sense still holds some mystery for you?

Everything from the Black Diaspora. Therefore, I’ll always return to it.

If you were to establish your own standards for evaluating modern art, what principles or guidelines would you propose?

Urgency, Authorship and transformative potential would be my suggestion.

In the future, across various aspects like art, parenting, and living in general, is there something that continues to puzzle or challenge you?

All of the above, actually.

Photography courtesy of the artist, Awol Erizku.

Read More